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IN SEARCH OF AN ARTIST

modem architect it would be difficult to surpass, either in Europe
or in America. And why is this work so triumphant ? Not because
the architect was inspired by the ideal of art for art's sake— which
in India, means art for Ajanta's sake—it was because the archi-
tect was inspired by life. He looked at India and he saw that it
was torn by the communal problem. And instead of avoi Jine
that problem, burying himself in his studio and ignoring it he
faced up to it, he said to himself, "Very well, there is the Hindu
and there is the Muslim, and I do not suggest, even on paper, that
they are one and the same, because they are not. But I do surest
that they both have beauty, I do suggest that I can use both those
types of beauty, and I'm damned well going to brine them
together."                                                                        •
'And he damned well did bring them together. He brought
them together in a superb unity, balancing a facade of Hindu
pillars with a delicate Muslim arch, enriching a Muslim window
with a border of Hindu decoration. It is as though the amuses
of the two cultures, each so separate, each so personal, &each so
highly characteristic, suddenly realised that in spite of those
differences they spring from a common source, whose name was
beauty.'
It was only some weeks after paying my tribute to this solitary
example of 'Indian' architectural prowess that I discovered that
the greater part of the original scheme and design of Osmania
was the work of a Belgian, Monsieur Jasper I